Studio Journal Thirteen.

Finally finished my edition of 18 silk screened accordion books.
"Gold Mutt"
3"x4" closed
3"x24" open

Studio Journal Twelve.

I finally got an idea that might put together my exquisite corpses, print, multimedia, and installations all together.
I was thinking about why I am interested in monsters and such and I realized a lot of it is based on childhood- the fairy tales and the monsters in the closet. Monsters in the closet! I can do my large print, install a door to the wall which has to be opened to reveal the print behind it!
I am pumped about this idea.

Studio Journal Eleven.

Oh, hello again, End-of-the-Semester-Panic-Mode.

These next couple weeks are going to be so jam packed with art making it is ridiculous.
Two etchings.
A print exchange of 20 prints.
A print exchange of 18 mini books.

I'm going to have to figure this out so that it is physically possible to do.


Right now my big problem is my big plate. Its a full, 18x24" sheet of zinc and its taking me way longer to work with than i had anticipated. The acid in the acid bath was just changed and because my plate is so big and the acid was so new, it ate the spraypaint aquatint within a minute. So I sucked it up and rosined it, which, to my delight, actually worked. I had tried a couple times previously with the big plate, but it was melting out the middle by the time the edges cooked.
I'll take a picture today in class of it.

EDIT:PICTURE



In other news, yesterday I went to the Met's print study room and got to see some Goya, Rembrandt, and Durer's up close and personal. The most impressive thing I saw was the woodblock for Samson and the Lion by Albrecht Durer. It was amazing.



I also got to go into the Guggenheim and see the Maurizio Cattelan exhibit, which was insane. I was getting vertigo by the end of it.


This GIANT (and I mean, dinosaur giant) cat skeleton sculpture was my favorite part. With some extra limbs and things, it could totally be one of my creatures.

Studio Journal Ten.

I just realize I didn't update this journal last week.
My first thought was that it must have been all of the holiday confusion, but I know what the reason was, even if it was subconscious. I probably didn't even think about writing in the journal because I hit a brick wall with my art. All of my creative drive just stopped. I was frustrated and making a lot of crap.
So, I took Thanksgiving break and just relaxed. Barb gave me some artists to look at. I didn't worry about the projects or the upcoming due dates.
I'm feeling good now and ready to start thinking and getting into it.
The break, from everything, was needed.

This is the start of a new week and I'm hoping its a good one.

Studio Journal Nine.

It seems my direction right now is going bigger. My teachers have all been encouraging me to go out of my comfort zone as far as size goes. While part of me is hesitant about this direction, the other part of me knows that this is what is for the best. Going big is one of those things that commands attention, but its one of those things where mistakes are easily seen. The task is daunting, but it will be a good experience and now is a good a time as ever to expand since I have the resources. I am, however, excited to see how my art will change, as I am sure it will, when there is room to explore and go crazy.

This is my first attempt at going bigger. These are mmm...a full sheet of Stonehedge paper minus 2 inches (some cropping). Its a monoprint, 2 layers of silkscreen, some hand painting (water color and gauche), and some pen and ink.

I finished my etching from the last blog of mine. I will get a picture of it and upload it soon.

I'm taking the creatures from it (skeletal bug creatures) and creating a whole pack of them on a full sheet of zinc. I've been working on the drawing for it and I will start putting it on the plate tomorrow...after I've putz-ed it... and filed down the edges. It will be quite the process. Nick told me that he would see if Randy could possibly get another acid bath into the acid room, as the plate will fill a bath and will be inconvenient for other students.

As for my thesis... I'm as this point where I am excited with what I have, but I have no clue as to where I should take it. I'm at the same point I have been for weeks. The only real progression is that since doing the tentacle installation, I've been mulling over the idea of an installation with my exquisite corpses, but I don't know to proceed or if that is really the direction I would like to go in.

Studio Journal Eight.

I added on a couple more tentacles to my installation before calling it complete.

The day of its completion was also the day of my critique with Catherine Murphy. She was a delightful person and very intelligent. She provided me with helpful insight as well as some warnings with my art. She told me that other artists also do monster so I have to really make them my own, which I have already prepared myself for, so that is okay. She really enjoyed my art thought. She found the characters very personable and easy to connect with. She absolutely LOVED my installation though, which I was very flattered by. She found it to be very humorous and clever, so that was exciting.

I've also been working on an etching that I am very happy with. I used a combination of techniques that I have learned recently.

This picture on the left is my print sitting in the acid bath. I tried to use the rosin box for this print, but I had a minor accident with it. Luckily, I discovered that the rosin had lifted from the center just in time and used the error to my advantage. I think, apart from learning new techniques, my biggest accomplishment this year would be letting go of some control and allowing chance to happen within the piece.

Studio Journal Seven.

So this week has already been a very busy one and it will continue to be so.

1. Critique on my installation

2. Critique with Catherine Murphy

3. Go to our Mason Gross Annual Reception

4. Work on etching

5. Thesis field trip

6. Print Fair

Tomorrow (...today, now, I guess, after looking at the

time) will go through 1 through 3 on that list and probably some of 4 as well.

Lucky I took some time this weekend to prepare for Catherine Murphy's visit. I've cleaned my studio and set up my portfolio. I finally fixed the freaking light in my studio by myself for this critique. I figured some decent lighting might be a little helpful. I am nervous about the critique, but I am excited as well. I have heard she is full of great knowledge and advice.

My installation is all up and ready for tomorrow.

I chose to play with this shaky door on the 2nd floor. It always sounds like someone is trying to escape from behind the door. I took a video of it. The tapping/shaking noises are the door, but its hard to actually see it shaking.

I'm grateful that the Brodsky Center let me use their Eric Avery print (on the right) to be "stolen", or at the very least, groped by my tentacle monster. I incorporated a little painting I found in my house to also be stolen.

Hmm...speaking of Eric Avery... His art is pretty cool. I like how at first glance, this Adam and Eve image appears very classic and conventional. That is, of course, until you read the text which delves into STDs. Its interesting that he went to art school and then went to go to med school.

I also stumbled on this blog post (article? I'm notsure) about painting on water which has some pretty incredible examples.

http://molempire.com/2011/08/01/painting-on-water-the-art-of-ebru/

And here's one of my favorite art videos by one of my favorite youtubers, Mitchell Davis.

I'd like to note how crazy it is that we are living in a time where we can instantly show our art on the internet and gain feedback that way. Crazy awesome, to clarify.